by ·Comments Off on Real Life (1979, Albert Brooks)

Brooks-as-himself tells the people of Phoenix he’s capturing real life, so not to play up for the camera while his crew films the Charles Grodin family going about their daily business. His psychologists turn against him, Brooks makes everything about himself as usual, and finally burns Grodin’s house down to create drama for his film. Brooks imploding for 90 minutes is a little tedious – fortunately the movie is saved by the camera-headed people, who are funny every single time I see them.

Dave Kehr:

With its deliberate avoidance of punch lines and insistent drift into darkness and disaster, Albert Brooks’s 1979 film left audiences baffled when first released. It now seems like one of the most innovative comedies of the decade, suggesting a hundred different ways in which movie comedy could escape the gag-heavy, character-destroying styles imposed by television (if only it wanted to).

by ·Comments Off on Half a Loaf of Kung Fu (1978, Chen Chi-Hwa)

Love the jesus christ superstar joke in the credits. Good cartoony music. Jackie fights a guy called King Kong in a henhouse; there is bird tossing. Popeye jokes, dream sequences, overall a very silly movie, the comedy/action ratio outta whack. Hundreds of actors in this, including James Tien, a Dragon Inn guy, and some Flying Guillotine veterans.

Heroes?

Birdie:

by ·Comments Off on Everybody Rides the Carousel (1976, John & Faith Hubley)

Wasn’t expecting this to start with a baby’s-eye-view of being born. Movie is like “human values for beginners” – a highlight is a date on a rowboat where the participants’ apparent age changes with each line they say. The Hubleys are good at using natural dialogue and finding unusual angles and perspectives, and great at body and facial poses. Based on the work of a famed psychologist, this was the feature film debut of both Georgia Hubley and Meryl Streep.

by ·Comments Off on Pink Flamingos (1972, John Waters)

Even lower-fi than expected. With a proper audience it’s probably more infectious than tedious. All this time I’ve avoid the acclaimed 1970s movie Cockfighter on account of chicken torture, then I stumble into the acclaimed 1970s movie Pink Flamingos with advance warning about shit-eating but no notice that a chicken gets fucked to death.

“How can a couch be out of order?” Divine and her ma Edie and roomie Mary are local menaces, while Mink and David are jealous pervert neighbors looking for an advantage over the notorious Divine. They try to ambush our heroes, but Divine fucks her son(?), eats shit, murders her rivals and wins the day. After Divine goes feral on a hot dog patron, Waters plays “The Girl Can’t Help It.” Also the scene where police are called to Divine’s trailer, and a gang of locals ambush and devour them was pretty good.

by ·Comments Off on Land of Silence and Darkness (1971, Werner Herzog)

We follow Fini, a deaf/blind advocate who visits her people in different family and institutional situations. It’s almost a public-service issues doc, showing sad disabled people and explaining how systems have failed them. But ever since watching Little Dieter I’ve known that Herzog likes to take his doc subjects to unusual places, and who else would take a party of blind women to a cactus garden?

Vogel: “confirms Herzog as the mysterious new humanist of the 1970s, light-years removed from the sentimentality of the Italian neorealists and the simplistic propaganda of untalented documentary film radicals.”

Hand communication:

by ·Comments Off on Perfume of the Lady in Black (1974, Francesco Barilli)

Silvia runs a lab of brightly colored liquids in bubbly beakers, and in the evenings she alienates her boyfriend then has traumatic flashbacks to the time she saw her mom having sex with some guy. Paura all around. You gotta watch at least one nonsensical Italian movie per shocktober.

Finally something happens: friend Francesca shows up dead in the tub. “They said the water must’ve been too hot… her heart couldn’t handle it.” Then Silvia splits in two, her adult and child selves having a conversation like the poster of The Tale. Young Self kills the neighbor’s cat, Older Self kills the neighbor. They murder a few more sexual harassers, and all seems to be going well, then Young Self pushes them off a roof, leading to a culty final scene where the men she’d killed gather around her body and eat her guts.

Barilli also made Hotel Fear (Pensione paura), his cowriter worked on Who Saw Her Die?, and the DP shot the Carmelo Bene movies and Padre Padrone. Older Self is Four Flies star Mimsy Farmer, and oh no, Young Self grew up to star in Ghosthouse.

Follow the trail to the titular perfume:

by ·Comments Off on Wake In Fright (1971, Ted Kotcheff)

A teacher attempts to go on holiday, but unfortunately he is the dumbest, drunkest idiot in all Australia. He is Gary “U.S.” Bond of Growing Pains (the Hammer horror, not the comedy series), a Blind Faith fan who hates his job and hates ordinary fuckin’ people. During a train layover in a thriving town, he gets sucked into a game of high stakes heads-or-tails and loses all his vacation money so has to look for work instead of proceeding to the shore. But some locals are very happy to host the stranger and keep him drunk. White-suited Tim’s daughter Janette wants to make out with the newcomer, but he throws up instead. Finally he settles for having a bromance with Donald Pleasance, the only other intellectual in Australia. He never actually wakes in fright, but with twenty minutes left he wakes in disgust. Gary escapes, but continuing to be an idiot he accidentally hitches a ride to the town he just left, then thinks he has to kill Pleasance, or maybe himself. Not a horror movie, it turns out (unless you count the scene where a bunch of kangaroos are shot and stabbed to death), just another in a long line of Australian movies about how it brutally sucks to live in Australia.

How can you hate a country whose only features are cockatoos and drinking?

by ·Comments Off on Salem’s Lot (1979, Tobe Hooper)

A TV movie that feels like a TV movie, except for a couple moments of the most nightmarish imagery which would stick in my head for the decade between when I first watched this until I guess Coppola’s Dracula.

But mostly it’s a TV movie, a version of Needful Things where everyone is fascinated with new shopkeeper James “Bigger Than Life” Mason, but he doesn’t sell anything and nothing happens, then eventually in the second half his Nosferatu boss arrives to kill everybody. First we’ve gotta spend a lot of time with writer Ben (played by a TV cop) fascinated with a house in town. “There’s a connection, I just know it,” says a fat cop about Ben and the house, but Ben already told us the connection, why don’t they ask him? Then there’s high schooler Mark (later of Enemy Mine) – they didn’t know about autism in 1979 but this kid loves monster movies and models and “keeps his feelings in hand.” In the end Ben and Mark will team up to defeat evil, two heroes with haircuts for which they both should be embarrassed.

Meanwhile we’ve got three hours to fill, so Ben finds himself a girl as soon as he gets into town (Bonnie Bedelia of Needful Things, haha), angering her dad Dr. Bill (head priest of Exorcist III) and her ex Ned, who punches Ben straight into the hospital. George Dzundza (Species II) is gonna murder realtor boss Fred Willard for cheating with his wife Julie Cobb (of a three-hour Brave New World), but lets Willard escape, to be instantly killed by yard monsters. Gravedigger Mike of Lawnmower Man gets bit (I saw him a couple days ago in a Rob Zombie movie), making his whitehair friend Lew Ayres (Omen II) sad.

Tobe (who would soon make Poltergeist) lingers on the writer thinking a house is evil, and maybe so, but I think it’s the foreign Nosferatu that is more evil here. It kills Ned at least, then our guys shoot James Mason to death (he’s not even a vampire), burn down the town, and leave the girl behind. I watched the sequel relatively recently, do not remember the Rob Lowe/Rutger Hauer remake, or the version last year that everyone hated.

And especially featuring Elisha Cook Jr. as the town drunk:

This movie is terrific at having characters stand next to their names

I don’t get the version of christianity where a popsicle stick crucifix can ward off evil

by ·Comments Off on 1975 Shorts

Firing Range aka Polygon (Anatoliy Petrov)

Professor’s son died in colonial wars, the prof invents an autonomous tank that can detect fear and sets it loose on his own army in revenge. Nice little sci-fi war drama, too bad about the grotesque rotoscoping. Not the Old Man and the Sea guy, this is a different Petrov, and okay it’s from 1977 not ’75, sometimes my dates are off.

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Great (Bob Godfrey)

Comic attack on the British empire, very good illustrations with Monty Python-style motion gives way to slightly more traditional animation full of newspaper-caricature characters, and settles into focus on Brunel, a builder of very large bridges and ships, with photographed segments and musical numbers. Not one of my favorite things, but I also believe there should be more farcical musical bio-pics of obscure historical figures. Won the oscar over Sisyphus and a Bafta over Caroline Leaf. A very naughty Brit, Bob is also known for Instant Sex and Kama Sutra Rides Again.

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Perspectives (Georges Schwizgebel)

Roughly drawn figures keep changing form and direction over nice colored backgrounds and oppressive piano music.

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Ventana (Claudio Caldini)

Thin rectangles flit past over some ambient music. Made me sleepy.

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Sincerity II (Stan Brakhage)

Playing with the dog in the yard, playing with the wife in bed. I thought my copy was faded and orange with exposure problems, but sometimes you’ll get a clear, balanced shot or a strong blue-green, so who knows. Sincerity was Stan’s multi-part “autobiography” composed of footage shot by himself and friends. With ten minutes left we start seeing Stan himself, and the editing goes haywire. Naked children, a family train vacation, some trick photography play with the kids, a visit to Canyon Cinema. Silent; I listened to the latest Mary Halvorson album since her group is playing Roulette tonight.

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The Seasons (Artavazd Peleshian)

Opens alarmingly with a man and a sheep going over a waterfall. Then the frame is taken over by clouds, then a mountain – maybe the title was mistranslated from The Elements. Cattle and sheep drive, men and horses getting a truck unstuck from rainy mud, a hay-sledding party, a sheep-sledding party. After all the hard work, everyone (even the sheep) get fancied up for the wedding of the man from the waterfall scene. No narration, but a couple of intertitles – postsync sound and nice orchestral score. Ah, this is Armenia, the title refers to the Vivaldi music, and it’s shot by The Color of Armenian Land director Vartanov.